“Leon’s devoted readers love her books for their juicy mystery plots, and also for the rich and varied cast of recurring characters, among which is the city of Venice itself. . . . Leon’s evildoers are not psychopathic serial killers or rapists. . . . [She] delves into the more interesting territory of moral corruption, in all its forms.” —Patricia Guy, Publishers Weekly (author profile)

“Commissario Guido Brunetti returns to La Fenice for another dramatic encounter with the diva Flavia Petrelli . . . there are the usual pleasures of following Brunetti as he walks around the city he knows like the back of his hand.” —Kirkus Reviews

“Leon . . . infuses even predictable scenes with fresh vitality, employing her subtle wit and psychological acuity to make well-loved characters freshly engaging. . . . [the] finale is engrossing and oddly moving; a fitting end to a Brunetti thriller that is also a rare portrait of an artist and her art.” —Anna Mundow, Barnes & Noble Review

“Leon has accomplished the not inconsiderable task of joining the atmosphere and social realism of noir with the charm and appeal of the traditional mystery. Her portrait of Venice (and Italy in general) is clear eyed about the attractions as well as the sometimes very dark realities of Venetian and Italian life . . . Her plots, which often have a natural quality, as if the author didn’t plan them so much as let them happen, also defy sub-genre classification.” —Glenn Harper, Life Sentence

“Splendid . . . Leon makes us feel [Venice’s] magic, taste it, smell it . . . Falling in Love is altogether a bravura accomplishment.” —Irma Heldman, Open Letters

“Thrilling . . . Readers will not be disappointed. Whether you’ve solved cases with Brunetti from the start or are a first time guest, this book will hold you spellbound . . . . [Falling in Love] will grab you from the first page, keep you on the edge of your seat, and leave you breathless while yearning for more, as if you’ve just witnessed a spectacularly powerful performance at the opera.” —Kate Proffitt, Killer Nashville

“Another entertaining installment in one of mystery fiction’s most consistent series.” —Joe Hartlaub, Bookreporter.com

“[A] widely admired series . . . Brunetti is unfailingly good company, and when he isn’t . . . he is wonderfully refreshing.” —Lloyd Sachs, Chicago Tribune

“[A] captivating series . . . [Falling in Love] offers the usual combination of mystery and dread.” —Jack Batten, Toronto Star

4. “It feels like an old friendship,” Brunetti tells Paola about his relationship with Flavia (p. 59), even while acknowledging they were never friends. (Flavia appeared in two previous novels, Death at La Fenice and Aqua Alta.) What is the nature of their connection? Is there trust, and is it well earned? What frustrates Brunetti about Flavia, and vice versa?

5. What does it take to convince Claudia Griffoni, Brunetti’s colleague, that the young singer Francesca Santello’s assault is connected to Flavia Petrelli? Why is she initially skeptical, and how does she figure out the possible link?

6. When Brunetti suggests to Flavia that her persistent admirer might be a woman, she is dismissive at first. But then she admits that the fans who make her most nervous are women. Why?

7. Flavia tells Brunetti she thinks Venetians are “sad . . . you had all of this, and now all you have is the memory of it” (p. 144). What is behind her characterization, and do you agree with it? What is Brunetti’s retort? Is it convincing?

8. When Brunetti takes the necklace Flavia gives him to Bocchese for fingerprinting, the technician tells him he has a reliable way of appraising the stones. What is it? Why does Bocchese consider it so trustworthy?

9. “Signorina Elettra had, for years, thrived in open violation of many laws” (p. 157), which makes her a particularly effective employee of the Questura. But she makes a crucial error when trying to “circumvent” the penalty that Lieutenant Scarpa doles out to Officer Alvise. What is it? How and why is Brunetti implicated? Was this Scarpa’s calculation or a coincidence? How does Elettra fix the error?

10. “In Tosca,” Flavia tells Brunetti, “all of the policemen are bad” (p. 196). Brunetti assures her that in Venice, “some aren’t.” Would he place his superior, Vice-Questore Patta, in that category? Why? What about Patta’s deputy, Lieutenant Scarpa?

11. When Anne-Sophie Lemieux corners Flavia in the dressing room, how does the singer signal to Brunetti that she’s not alone? Is Flavia successful at protecting herself? How does she ultimately defuse the threat?